三彩筆記 vol.68 西雅圖藝術博物館：唐代釉陶牛車 - Seattle Art Museum, Glazed Earthenware Bullock and Cart, Tang Dynasty (7th century)

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唐代釉陶牛車，Eugene Fuller Memorial Collection舊藏，編號37.17。高約40.6–43.8公分，長約51.4公分。施鉛釉（lead silicate glaze）。牛隻四足站立，拖車為帶頂棚的雙輪車。

牛車自北朝起成為墓俑中的重要題材。北魏、北齊時期尤為流行，多為不上釉的彩繪陶，造型寫實，牛身健壯，車廂常有頂棚與窗格，反映當時貴族出行的實際樣貌。北朝壁画與石棺上也常見牛車儀仗，顯示其已從實用運輸工具上升為身份象徵。隋唐時期繼續流行，部分作品開始施釉，本件即為7世紀帶釉的例子。

SACA觀察

北朝牛車多為彩繪無釉，唐代則出現施釉例子。本件尺寸適中，釉色保存與完整度是級別關鍵，而來源清楚更是重要標誌——Eugene Fuller Memorial Collection作為西雅圖藝術博物館早期核心入藏，本身已具備一定分量。北朝的「神牛」形象值得特別留意。牛在北魏、北齊墓葬中不僅是運輸工具，更被賦予厚重、穩健、近乎神性的特質。出土的陶牛常身形雄壯、垂胡明顯、角勢有力，與同期壁画中貴族儀仗的牛車相互印證。北朝社會經歷長期戰亂與民族融合，牛車逐漸取代部分馬車功能，成為高官與貴族出行的正式載具，地位遠高於後世印象中的「慢車」。這種「神牛」傳統，正是北朝陶俑中極具時代特色的一環。

北朝藝術的核心品種是雕塑——雲岡、龍門、響堂山石窟，以及各類石刻、大理石與高品質陶俑，共同構成這個時代最鮮明的藝術標籤。藏家必須具備這個邏輯：如果一個朝代的核心品種，其市場價格長期遠低於歷史與藝術應有的位置，那就是低窪。隨著信息透明度提高與認知深化，這些低窪終將被填補。近年北朝雕塑與陶俑已開始進入視野，價格結構正在緩慢重估。牛車作為北朝儀仗與生活場景的重要組成，正是這一邏輯下值得持續關注的品類。

參考蘇富比香港「伊勢彥信珍藏重要中國陶瓷」專場（2025年9月9日）

• 北齊灰陶加彩女官俑（A massive painted pottery figure of a court lady, Northern Qi dynasty）

  高 60.7 cm

  來源：繭山龍泉堂（1953年購得）

  成交價：342.9萬港元

SACA學會已有專文記錄：

https://www.artsaca.com/post/auction226

東京國立博物館，橫河民輔捐贈，唐代三彩牛車

富士美術館，唐代彩繪牛車

神牛的歷史根源

北朝時期（尤以北魏、北齊為代表），陶牛與牛車在高等級墓葬中已從漢晉以來的實用載具，升格為具有強烈儀式性與近乎神性象徵的核心視覺元素。文獻方面，《晉書·輿服志》明確記載自東漢末年起「自靈獻以來，天子至士庶遂以為常乘」，牛車成為上下通行的常備座駕；南朝士人更以乘牛車清談為雅尚，視其為穩重、清正的文化符號。北朝雖以鮮卑騎射立國，入主中原後為適應漢地禮制與統治需要，逐步吸收車輿制度——孝文帝改革後，列卿以上官員可配通幰牛車；北齊進一步規範等級，高官牛車飾以金銀，縣級以上亦用銅飾（《魏書·禮志》相關記載可資參證）。

考古證據更為直接：大同宋紹祖墓（太和元年，477年）以華美牛車為出行儀仗中心，前後配置甲騎具裝、雞冠帽輕騎與侍從，完整呈現「前導—主車—殿後」的鹵簿結構（山西省考古研究所、大同市考古研究所，《大同市北魏宋紹祖墓發掘簡報》，《文物》2001年第7期）；太原婁叡墓（武平元年，570年）與徐顯秀墓壁画則在墓室東西壁分列鞍馬與牛車，圍繞墓主夫婦像形成對稱儀仗，再延伸至墓道構成浩蕩隊列（鄭岩《重讀北齊婁叡墓壁画》，《北京大學學報》2023年第5期；相關討論亦見楊泓對北朝俑群組合的分析）。出土陶牛多身軀雄壯、垂胡明顯、角勢有力、鞍具華麗（圓泡、革帶、垂飾極為講究），明顯超越役用功能而帶有理想化與威儀感，學者因此以「神牛」稱之。此形象既延續漢晉車輿禮制，又融入北方民族對力量、穩健與富足的審美，同時隱含引領墓主靈魂安穩前行的喪葬寓意，成為北朝墓葬藝術中最具辨識度與時代特徵的標誌之一。

主要參考

1. 《晉書》卷二十五《輿服志》。

2. 山西省考古研究所、大同市考古研究所：《大同市北魏宋紹祖墓發掘簡報》，《文物》2001年第7期。

3. 鄭岩：《重讀北齊婁叡墓壁画》，《北京大學學報（哲學社會科學版）》2023年第5期。

4. 楊泓等關於北朝俑群「鎮墓—出行儀仗（以牛車、鞍馬為中心）—家居」組合的論述。

5. 相關壁画墓圖像研究（徐顯秀墓等）。

關於藏家

Eugene Fuller Memorial Collection以Eugene Fuller（1858–1930）命名。真正推動收藏的是其子Richard E. Fuller（1897–1976）與母親Margaret MacTavish Fuller。Richard於1933年創立西雅圖藝術博物館並擔任館長四十年，專注亞洲藝術。

FAQ

Q1：牛車從何時開始流行於墓俑？

北朝（尤其是北魏、北齊）開始大量出現。此前漢代已有牛車，但北朝時期其形象與儀仗結合，成為貴族出行的重要象徵。

Q2：北朝與唐代牛車有何區別？

北朝多為彩繪無釉，造型偏寫實厚重，牛隻常帶「神牛」氣質；唐代部分作品開始施釉，車廂與牛隻細節更為精緻。

Q3：牛車的乘坐級別如何？

北朝時期，牛車已是高官與貴族常用的出行工具，壁画中常見大型儀仗中的牛車。東晉王羲之時代（4世紀）牛車已存在，但北朝將其提升為更正式的身份象徵。

Q4：市場情況如何？

完整的北朝至唐牛車在拍賣會上偶有出現，價格通常低於同期馬俑。來源清楚、保存較好者仍有穩定需求。隨著北朝雕塑整體認知提升，相關陶俑亦有重估空間。

館藏資料 / Collection Data

中文

名稱：Bullock and cart（牛車）

年代：7世紀（唐代）

材質：鉛釉陶（Earthenware with lead silicate glaze）

尺寸：高約40.6–43.8 cm，長約51.4 cm

來源：Eugene Fuller Memorial Collection

館藏編號：37.17

網址：https://art.seattleartmuseum.org/objects/23882/bullock-and-cart

The “Divine Ox” of the Northern Dynasties (detailed academic paragraph)

In the Northern Dynasties, particularly under the Northern Wei and Northern Qi, pottery models of oxen and ox carts rose from the practical vehicles of the Han–Jin period to become central ritual and near-numinous symbols in elite tombs. Textual evidence is explicit: the Jinshu (“Treatise on Carriages and Clothing”) records that from the late Eastern Han “from the Son of Heaven down to the common people the ox cart became the ordinary conveyance.” Southern Dynasties literati further elevated it as a mark of refined composure. Although the Northern regimes originated among the Xianbei, who valued the horse, after conquering north China they adopted Chinese sumptuary systems; after Emperor Xiaowen’s reforms, officials of lieqing rank and above were entitled to canopied ox carts (tongxian niuche), and under the Northern Qi high officials’ carts received gold and silver fittings while those of county level and above used copper (cf. relevant passages in the Weishu, “Treatise on Ritual”). Archaeological evidence is still more concrete. In the tomb of Song Shaozu at Datong (dated Taihe 1 / 477), a finely made ox cart stands at the centre of a complete processional retinue of armoured cavalry, light cavalry in cock’s-comb helmets and attendants, forming a clear “vanguard–principal carriage–rear guard” structure (Shanxi Provincial Institute of Archaeology and Datong Municipal Institute of Archaeology, “Excavation of the Northern Wei Tomb of Song Shaozu at Datong,” Wenwu 2001.7). In the Northern Qi tombs of Lou Rui (Wuping 1 / 570) and Xu Xianxiu at Taiyuan, murals place the saddled horse and ox cart symmetrically on the east and west walls of the burial chamber, flanking the portrait of the deceased couple and extending into the sloping passageway as a grand cortege (Zheng Yan, “Rethinking the Murals of the Northern Qi Tomb of Lou Rui,” Journal of Peking University 2023.5; see also Yang Hong’s analyses of Northern Dynasties figurine assemblages). The accompanying pottery oxen are characteristically robust, with pronounced dewlaps, powerful horns and elaborate ceremonial harnesses far exceeding ordinary draught animals in monumentality and idealisation; scholars therefore speak of them as “divine oxen.” This image combines Han–Jin carriage ritual with a northern aesthetic of strength, steadiness and abundance, while also suggesting the safe conveyance of the soul, and remains one of the most distinctive and period-specific markers of Northern Dynasties funerary art.

Principal references

1. Jinshu, juan 25, “Yufu zhi” (Treatise on Carriages and Clothing).

2. Shanxi Provincial Institute of Archaeology & Datong Municipal Institute of Archaeology, “Excavation of the Northern Wei Tomb of Song Shaozu at Datong,” Wenwu 2001.7.

3. Zheng Yan, “Rethinking the Murals of the Northern Qi Tomb of Lou Rui,” Journal of Peking University (Philosophy and Social Sciences) 2023.5.

4. Yang Hong et al. on Northern Dynasties figurine assemblages (processional groups centred on ox cart and horse).

5. Related mural-tomb studies (Xu Xianxiu tomb, etc.).

This glazed earthenware bullock and cart is from the Eugene Fuller Memorial Collection, accession 37.17. Height approx. 40.6–43.8 cm, length approx. 51.4 cm. Covered with lead silicate glaze. The ox stands four-square, pulling a two-wheeled covered cart.

Ox carts became an important subject in tomb figurines from the Northern Dynasties onward. They were especially popular in the Northern Wei and Northern Qi periods, mostly as unglazed painted pottery with robust oxen and canopied carts reflecting elite processions. Wall paintings and stone sarcophagi of the period also frequently depict ox-cart retinues, showing that the vehicle had risen from practical transport to a status symbol. The type continued into the Sui and Tang, when some examples began to receive glaze; the present piece is a 7th-century glazed example.

SACA Observation

Northern Dynasties ox carts are typically painted and unglazed; Tang examples sometimes carry glaze. Size, glaze condition and completeness are key quality factors, while clear provenance is an important marker—the Eugene Fuller Memorial Collection, as an early core holding of the Seattle Art Museum, already carries weight.

The Northern Dynasties “divine ox” (神牛) image deserves special attention. In Northern Wei and Northern Qi tombs the ox is not merely a beast of burden but is given a heavy, steady, almost numinous presence. Excavated pottery oxen are often powerfully built, with pronounced dewlaps and forceful horns, matching the processional ox carts seen in contemporary wall paintings. After prolonged warfare and ethnic integration, the ox cart gradually took over some functions of the horse chariot and became the formal conveyance of high officials and aristocracy, far higher in status than later popular perception of a “slow vehicle.” This divine-ox tradition is one of the most distinctive features of Northern Dynasties tomb sculpture.

More important is the larger framework. The core artistic category of the Northern Dynasties is sculpture—Yungang, Longmen, Xiangtangshan, together with stone, marble and high-quality pottery figures. Collectors must hold this logic: if a dynasty’s defining category remains priced far below its historical and artistic value, that is a market depression. As information becomes more transparent and understanding deepens, such depressions will eventually be corrected. In recent years Northern Dynasties sculpture and pottery figures have begun to enter collectors’ view, and the price structure is slowly being reassessed. The ox cart, as an important component of Northern Dynasties processional and daily imagery, is a category worth continued attention under this logic.

About the Collector

The Eugene Fuller Memorial Collection is named after Eugene Fuller (1858–1930). The actual builders were his son Dr. Richard E. Fuller (1897–1976) and mother Margaret MacTavish Fuller. Richard founded the Seattle Art Museum in 1933 and served as its unpaid director for forty years, focusing on Asian art.

FAQ

Q1: When did ox carts become popular in tomb figurines?

They became prominent from the Northern Dynasties (especially Northern Wei and Northern Qi). Earlier Han examples exist, but the Northern Dynasties elevated the ox cart into elite processional imagery.

Q2: How do Northern Dynasties and Tang examples differ?

Northern Dynasties pieces are mostly painted and unglazed, with robust modelling and a “divine ox” quality; Tang examples sometimes receive glaze and show more refined detailing.

Q3: What was the social rank associated with riding ox carts?

In the Northern Dynasties the ox cart was a vehicle of high officials and aristocracy, frequently shown in large processions. Ox carts already existed in the Eastern Jin period of Wang Xizhi (4th century), but the Northern Dynasties gave them stronger formal and status associations.

Q4: How are these regarded on the market?

Complete Northern Dynasties to Tang ox carts appear occasionally at auction. Prices are generally lower than contemporary horse figures. Pieces with clear provenance and good preservation retain steady interest. As overall recognition of Northern Dynasties sculpture rises, related pottery figures also have room for reassessment.

English

Title: Bullock and cart

Date: 7th century

Medium: Earthenware with lead silicate glaze

Dimensions: 16 × 13½ in. (40.64 × 34.29 cm); Overall h. 17¼ in.; L. 20¼ in.

Credit Line: Eugene Fuller Memorial Collection

Accession Number: 37.17

URL: https://art.seattleartmuseum.org/objects/23882/bullock-and-cart

參考文獻 / References

同類作品

1. 東京富士美術館（Tokyo Fuji Art Museum）《加彩牛車》，隋–唐（7世紀）

   
   

   https://www.fujibi.or.jp/collection/artwork/01445/

2. 東京國立博物館（Tokyo National Museum）TG-662

   
   

   https://colbase.nich.go.jp/collection_items/tnm/TG-662?locale=ja

3. Metropolitan Museum of Art, Ox cart, Tang dynasty, 7th–8th century, acc. no. 13.100.14a–c

   
   

   https://www.metmuseum.org/art/collection/search/53686

拍賣：

1. 佳士得紐約，2018年9月13–14日，拍品1275

   
   

   北魏灰陶加彩牛車

   牛長20.3 cm，車長18.7 cm

   成交價：16,250美元

   來源：Peter Scheinman 舊藏

   
   

2. 蘇富比香港，EYE/EAST，2020年5月22日，拍品5022

   
   

   北魏陶加彩牛

   高19.5 cm

   成交價：437,500港元

   來源：Norman A. Kurland 收藏；Eskenazi Ltd, London, 2017

   展覽：Eskenazi，《Six Dynasties Art from the Norman A. Kurland Collection Part One》，倫敦，2017年，編號18

   
   

   連結：https://www.sothebys.com/en/auctions/ecatalogue/2020/eye-east-hk1000/lot.5022.html

1. Christie's New York, 13–14 September 2018, lot 1275

   
   

   Painted grey pottery model of a bullock and cart, Northern Wei dynasty, 5th–early 6th century

   
   

   Bullock 20.3 cm long, cart 18.7 cm long

   
   

   Sold for USD 16,250

   
   

   Provenance: Peter Scheinman Collection, New York

   
   

   (Recorded in the Christie's sale catalogue Fine Chinese Ceramics and Works of Art and contemporary reports)

2. Sotheby's Hong Kong, EYE/EAST, 22 May 2020, lot 5022

   
   

   A finely modelled painted pottery figure of an ox, Northern Wei dynasty

   
   

   Height 19.5 cm

   
   

   Sold for HKD 437,500

   
   

   Provenance: The Norman A. Kurland Collection; Eskenazi Ltd, London, 2017

   
   

   Exhibited: Eskenazi, Six Dynasties Art from the Norman A. Kurland Collection Part One, London, 2017, cat. no. 18

   
   

   Link: https://www.sothebys.com/en/auctions/ecatalogue/2020/eye-east-hk1000/lot.5022.html

學術與背景參考

1. 山西省考古研究所、大同市考古研究所：《大同市北魏宋紹祖墓發掘簡報》，《文物》2001年第7期（太和元年，477年，以牛車為儀仗中心）。

2. 鄭岩：《重讀北齊婁叡墓壁画》，《北京大學學報（哲學社會科學版）》2023年第5期（婁叡墓鞍馬、牛車對稱配置與儀仗圖像）。

3. 徐顯秀墓相關研究（北齊，墓室東西壁鞍馬與牛車對稱出現）。

4. 楊泓等關於北朝俑群「鎮墓—出行儀仗（以牛車、鞍馬為中心）—家居」組合的論述。

5. Seattle Art Museum, Handbook, 1951, p. 61（本件早期著錄）。

1. Shanxi Provincial Institute of Archaeology & Datong Municipal Institute of Archaeology, “Excavation of the Northern Wei Tomb of Song Shaozu at Datong,” Wenwu 2001.7 (dated Taihe 1 / 477; ox cart at the centre of the processional retinue).

2. Zheng Yan, “Rethinking the Murals of the Northern Qi Tomb of Lou Rui,” Journal of Peking University (Philosophy and Social Sciences) 2023.5 (symmetrical placement of horse and ox cart flanking the tomb-occupant portraits).

3. Studies of the Xu Xianxiu tomb (Northern Qi; horse and ox cart on the east and west walls of the burial chamber).

4. Yang Hong et al. on Northern Dynasties figurine assemblages (processional groups centred on ox cart and horse).

5. Seattle Art Museum, Handbook, 1951, p. 61 (early publication of the present object).